Sculpture 2

“These are machines that extends our sensory apparatus, our ability to map the world…”

The Expanded Field

Until the twentieth century representation of the human form was central to sculpture. In modern and contemporary art, the scale of sculpture is directly related to the human form and a phenomenological experience for the body. This course will parallel the history of sculpture as a temporal and a spatially dynamic form. We will explore the mechanical form and functions of the body, the transformation of materials and the physical presence of temporal architectonic form.

1. Lesson in Welding & Sewing

Each of you will learn to weld, cut and bend steel. You will weld a cubic structure. Welding safety will be gone over. Basic skills in sewing will be gone over and you will each make a simple bag.

2. For the Body /Transformed, Mimicked

In the first part of this course we will investigate the mechanical form as it relates to the body. We will explore the advances in mechanization and automation in the first quarter of the century that fostered a change in the way artists viewed the world in motion. Tom Flynn's essay, "Welcome to the Machine," will provide us with the historical examples of temporal works that mimic industrial fabrication and mechanization. Metal fabrication, both welding and pop riveting, and paper and cloth casting will be covered. For the project you will fabricate a work that directly fits on to or mimics the function of a body. A work based on clothing or support systems, a breathing machine or a set of arm extenders, a work that uses technology to extend your ability.

3. Recycle Re- Invention

In the second project you will recycle or re-invent an object or a material. You will re-fabricate a form so that it has a new and improved life and perhaps a completely poetic or new "higher level" function. Krause's essay "The Mechanical Ballet" will give historical examples of early 20th century artist such as Calder, Tinguely and Rauschenberg who reused ready-made materials. Duchamp's short essay "The Creative Act" will be discussed and used as a prompt to begin your work. You will each do a presentation on a Contemporary Artist/Architect project. You may use any material for the project. It should incorporate metal and skills we are covering in the course.

4. The Expanded Field: In-Material Objects

In the last project we will investigate phenomenological experience. The 1972 Krauss essay, "Sculpture in the Expanded Field" will give you a historical perspective on works that are theatrical and installation based. You will be asked to make a work that expands the field of sculpture, moving it from the pedestal in a gallery to the world by making something that is architectural in scale and scope. Your materials/form will be transportable; we will use cloth, rope and wood or metal frames to make the work. You will be exposed to numerous artists working in this vain such as James Turrell, Robert Irwin, Janet Cardiff and others.

Calendar - Sculpture 2                                     2013
The Expanded Field

Week 1

January 28. Introduction: Sculpture in the Expanded
Introduce: “For the Body; Transformed the Body Mimicked”
Split into groups:
Group 1. Weld 
Group 2. Sew
Intro to Studio: Wood shop and welding studio times and training.
January 30.  Reading:  Flynn The Body in Three Dimensions,
Celant Art and Fashion, Screening “Man and Mask”
Group 1. Weld
Group 2. Sew
Thursday: New students woodshop training. 1pm
Friday:
Group 1. Weld
Group 2. Sew

Week 2
February 4. Reading: Barth The Language of Fashion,
Koda Extreme Fashion the Body Transformed, and McQauid Sonia Delaunay
Group 1. Weld
Group 2. Sew
Switch groups after today
February 6. Group 1. Sew
Group 2. Weld
Friday:
Group 1. Sew
Group 2. Weld

Week 3
February 11. Reading: Cameron Nick Cave Meet Me at the Center of the Earth, Sollins Cindy Sherman
Group 1.Sew
Group 2.Weld
February 13.  Welding and Sewing DUE
Introduce:“For the Body; Transformed the Body Mimicked”
Friday: Meetings with students  
 
Week 4
February 18. Meetings with students “For the Body; Transformed the Body Mimicked”
February 20. Meetings with students “For the Body; Transformed the Body Mimicked”
Friday: Meetings with students  

Week 5
February 25. Work time
February 27. Work time
Friday: Meetings with students  

Week 6
March 4.Work time
March 6. Critique: “For the Body; Transformed the Body Mimicked”
 
Week 7
March 11. Reading: Krauss: Passages in Modern Sculpture  “The Mechanical Ballet”,
“The Creative Act” Marcel Duchamp
Introduce: Recycle Re- Invention
March 13. Meetings with students
  
Week 8 Spring Break

Week 9
March 25. Reading: SollinsAi Wei Wei,Sollins Sarah Sze,
Work in class
March 27. Work in class  
Friday: Meetings with students

Week 10
April 1. Work in class
April 3. Work in class
Friday: Meetings with students

Week 11
April 8. Critique: Recycle Re- Invention
April 10. Reading: Krauss Sculpture in the Expanded Field,
Claire Bishop Installation Art and Experience
Introduce: The Expanded Field
 
Week 12
April 15. Reading: Sollins James Turrell,
Roberta Smith Art Review The Audience as Art Movement,
Ann Hamilton at the Park Avenue Armory
Meetings with groups
April 17. Meetings with groups

Week 13
April 22. Meetings with groups
April 24. Meetings with groups

Week 14
April 29. Meetings with groups
May 1. Last Class

May 13-Final Crit

 

Lessons In Welding and Sewing
Due Feb 13

This lesson will give you the basic skills and safety procedures for welding and sewing, the 2 processes you will use to fabricate work this semester.  
You will need to be checked out for safety by Laura Dalton.

BOX
Build a skeletal structure of a box showing the outline and interior forms. You can choose to fuse the cube with a triangular form, one side of the box must incorporate a solid sheet of steel cut with a plasma cutter.
You will:
1. Learn to use the metal chop saw and band saw and cut steel rod to make a cube.  
2. Learn to weld pencil rod steel with the Mig Welder
3. Learn to weld sheet with an Oxy Acetylene Welder.
4. Weld a cube out of steel rod and weld a tab to the face of the cube.
6. Practice using the Plasma cutter. Make stencil if you wish. 

BAG
Each person is required to make a simple bag with a strap.  You can be inventive adding to the bag, making a shape being inventive. A pattern will be provided.
1.Cut out a pattern, learn to square and cut clothe with pattern attached.
2. Learn to run a sewing machine, threading a bobbin and do various stitches.   
3.Learn to seam cloth and prep for assembly.
4. Pin and sewing assembly 
5. Sew straps and pockets
 
GROUP 1
WELD /SEW
 
GROUP 2
SEW /WELD

PLEASE NOTE: WELDING EQUIPMENT IS AVAILABLE ONLY DURING THE SCHOOL DAY.
YOU MAY NOT USE THE EQUIPMENT ANY OTHER TIME.
SO, You must work on projects on Fridays from 9-5 and or Monday- Thursday 9-12.

FOR THE BODY Transformed Mimicked
Due: March 6

In Motion-“ The futurist movement, founded in Italy in 1909 by the poet Filippo Marinette- and later attracting the artists such as Umberto Boccioni-sought means of over turning the ossified, orthodox structures of academics and replacing them with modalities of a machine aesthetic which celebrated speed, power, modernity. As a body born from a fusion of the organic and the technological, the man as a machine moving through space, the figure can be read as the quintessential twenty first-century body.” Flynn

Prompt
We will look at advances in mechanization and automation in the first quarter of the century that brought about a change in the way that artist viewed the world and in the way in which they expressed that view.
In your work, look at the mechanical essence of the body. Extract, abstract or reference anatomical forms. Consider making machine-like forms that have human proportions- consider making a mechanical object that extends our bodies possibilities.
Look at the structure of clothing and how we use them.

Readings Flynn The Body in Three Dimensions, Celant Art and Fashion,
Barthes The Language of Fashion, Koda Extreme Fashion the Body Transformed, McQauid Sonia Delaunay, Cameron Nick Cave Meet Me at the Center of the Earth, and Sollins Cindy Sherman

Questions:
1.Consider how Photography affected sculpture and the work that preceded, Futurism, Constructivism and cubism. Look at design/art from Delaney’s constructivist costumes to post WWII Dior.
How do artists throughout time configure bodies? How does fashion reform the modern body?
2.The Robot and the surreal body come into play after the 1st World War destruction when literally hundreds of men return from war with artificial limbs.

A re-engagement with the notion of the ironic and surreal emerges again in the fashions of McQueen and Chalayan in the 1990 through 2008.
How and why does fashion mimic history and reflect the time?

3.How are our bodies perceived, received and altered by what we wear today?  What are our surrogate bodies?
How do the things wear extend our abilities?

Materials: Your primary materials will be metal and cloth. Your work must include one of these.
The metal can be welded steel or pop-riveted aluminum. You may use recycle parts for the metal. Bolts of muslin are available as are recycled parachutes and clothing.

Fabrication Methods: For those who took Sculpture 1, all methods covered are available. You must use 1 newly learned metal fabrication technique riveting, welding, plasma cutting, OR 1 sewing method.

Scale: The scale of the work must be in relation to your body. That is, the body can fit into the form even if the object will not be actually worn.
If it is a wearable, modeling this or a performance may be part of the work.
 
Planning and Working Process:
Make at least 3 sketches of ideas you are interested in, take all or one to a fairly refined point. Bring images to your individual conference meeting with me to discuss the concept, fabrication process, and materials and to make a timeline for production.
You will need to build a model so you can further develop the piece.
 
References:
Artists/Exhibitions
Cindy Sherman, Sonia Delaunay, Alexander Mc Queen, Isa Maki,
Rauschenberg, Pelican
Yinka Shonibare- http://www.yinkashonibarembe.com/present.html
Lucy Orta http://www.studio-orta.com/
Rebecca Horn http://www.rebecca-horn.de/pages/biography.html
Tim Hankinson http://www.whitney.org/exhibition/feat_hawk.shtml
Jana Sterbak, http://www.gallery.ca/en/see/collections/artist.php?iartistid=5230
STELARC http://www.stelarc.va.com.au/
Yayoi Kusama http://www.yayoi-kusama.jp/e/information/index.html
Nick Cave http://www.jackshainman.com/artist-image731.html
Extreme Beauty: http://www.metmuseum.org/special/Extreme_Beauty/body_transformed_more.htm#first
Extreme Textiles:
http://www.cooperhewitt.org/exhibitions/extreme_textiles/index.asp
The Fabric Workshop
http://www.fabricworkshop.org/artists/video/suh.php

 

Rauschenberg- Riding Bikes

RE-CYCLE AND RE- INVENTION

DUE: APRIL 8

“Whether Mr. Mutt with his own hands made the fountain or not has not importance. He CHOSE it!
He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view- created a new thought for that object.
As for Plumbing that is absurd. The only works of Art America has given are her Plumbing and her bridges.”
Marcel Duchamp, Speaking about the Richard Mutt Case- “The Fountain”

Prompt: What does a spectator bring to a work? If you use a readymade is the work about that thing or is it still the thing? (Is the Plumbing only Plumbing?)
What objects have symbolic power in society and your life? Do some have more than others?
Why did artists begin to look to the readymade and now recyclable objects as potential art materials? 
What ideas circulating in the 1960 and 70’s that further propelled this?
Why is our contemporary society preoccupied with recycling?
What materials can you find that would make an impact on the possible re-use system?
How do Tinguely’s objects then become performers?
Is Oldenburg using the readymade or mimicking the world?

Materials: You are encouraged to gather materials that are used which have a metaphoric function. Metal and or cloth should be used in some aspect of the fabrication. All other materials can be used that are non-toxic and safe to disassemble and reassemble.
Things you cannot use: TVs taken apart, Computers taken apart, electrical wire exposed,
Plastic and/or fiberglass.

Places to Get Materials:
Scrap
The Rebuilding Center
Goodwill
The Bins
Hippo Hardware
Resale Store (Habitat for Humanity)
The SU old cloths box/Your Laundry room
Recycling Bins (paper, plastic, metal)

Fabrication Methods: Incorporate some skills covered in class, pop riveting, welding
Scale: THIS WORK CAN BE NO BIGGER THAN 24”

Planning Process: Gathering materials will be vital.
Sketches and meetings with me before you proceed!

Readings
Krauss Passages in Modern Sculpture  “The Mechanical Ballet”
Marcel Duchamp The Creative Act,
Sollins Ai Wei Wei, http://www.pbs.org/newshour/bb/entertainment/july-dec12/weiwei_12-11.html
Sarah Sze, El Anatsui

Class presentations MARCH 11

Robert Rauschenberg / Plecan + Experiments in Art and Technology (E.A.T.)

Rauschenberg / Cunningham / Cage Happenings http://arthistory.about.com/Od/From_Exhibitions/Ig/Rauschenberg_Combines/Rrc_02.Htm
Moholy–Nagy- Light Prop  
http://www.moholy-nagy.com/
http://news.harvard.edu/gazette/story/2007/07/light-prop-shines-again/
http://www.youtube.com/watch?v=nVnF9A3azSA
Automatons-The Clerk-Mechanical Doll
http://www.automates-anciens.com/english_version/main_pages/androids_jaquet_droz.php
Calder
Http://Www.Calder.Org/ -
Tingley
http://www.tinguely.ch/en/museum_sammlung/jean_tinguely.html
Judson Church Theater
http://www.danceheritage.org/treasures/judsonchurch_essay_jackson.pdf
Oldenberg Store
http://whitney.org/WatchAndListen/Artists?play_id=462 
Fred Wilson
http://www.pbs.org/art21/artists/fred-wilson
Yinka Shonibare  
http://www.yinkashonibarembe.com/
Jeanne Antoni   
http://www.luhringaugustine.com/artists/janine-antoni/#/images/3/
Rachel Whiteread  
http://www.luhringaugustine.com/artists/rachel-whiteread/#/images/40/
Samuel Mockbee  
http://apps.cadc.auburn.edu/rural-studio/Default.aspx?path=Gallery%2fProjects%2f2003%2forganicfarmersstand%2f

LIST of Other Artists/works:
Leonardo Drew http://www.leonardodrew.com/drew%20site-Pages/Image46.html
Song Dong http://www.moma.org/visit/calendar/exhibitions/961
Janet Cardiff and R. Miller http://www.cardiffmiller.com/
Simon Starling
Simon Starling is a British conceptual artist. The Tate awarded him the prestigious Turner Prize in 2005 for Shedboatshed, a work that involved taking a wooden shed, turning it into a boat, sailing it down the Rhine, and turning it back into a shed.
Tess Giberson
The fashion designer Tess Giberson is known for experimentation with traditional craft and detailed handwork as well as her collaborations with artists and musicians. Her fashion shows incorporate music, writing, video, performance, and installation, blending outward into many fields of experience.
Elana Herzog
 Elana Herzog is a New York-based installation artist and sculptor; she also works in the media of handmade paper and books. Her work was recently featured in Art in America and Time Out New York.
Simone Leigh
Simone Leigh's practice is an object-based exploration of black female subjectivity. Her sculptures, videos, and installations are informed by her interest in African art, ethnographic research, feminism, and performance.

 

Sculpture in the Expanded Field

“Sculpture is a medium peculiarly located at the juncture between stillness and motion, time arrested and time passing.”
Rosalind Krauss

Expanded
A large number of postwar European and American sculptors became interested in both theater and the extended experience of time. This expanded field includes kinetic and light art, environmental works, architecture, as well as happenings and performance art. Real time and real motion was central too much of the work then and has remained at the core of our experience of installation works now.  As viewers we are most often asked to perform, move, reconsider our position in the space and in relation to the world.

You will read and discuss issues in Krauss’ essay such as phenomenal and spatial representations. You will create the piece for a particular space either as a work that directly dialogues with Architecture (an axiomatic structure) or landscape (a marked site).
For your work you will use a limited pallet of material including cloth, string, wood or metal structures that reconfigure the space.
 
Prompt:
The concept of gestalt, an idea the sculptor Robert Morris focused on, is that we have a bodily relationship with forms, no matter how abstract, that occupy our bodily space.
Make a work of art that literally confronts us, that is in our space so me must walk though it not around it, one that causes a bodily reaction.
Given that this is a public space, this is a work that can have an effect on the population that encounters the work.

Materials:
Clothe, sheeting, screens, plastic sheeting, ropes, wood poles, framing, metal structures 
Air/wind, sound, sun/shadows, electric light, water (rain), steam.

 Where to build-Space Around Art building:
Art building out sidewalls and porch, path, hill, edge of the canyon
Structures you can attach to- Porch roof, pillars, rail on the side porch, lampposts.
YOU MAY NOT-Tie things to trees or dig holes in the ground. You may not use any other place on campus.

Readings:
Rosalind Krauss, Passages in Modern Sculpture
“The History of Sculpture coincides with the development of two bodies of thought, phenomenology and structural linguistics, in which meaning is understood to depend on the way that any form of being contains the latent experience of its opposite; simultaneity always containing an implicit experience of sequence. One of the striking aspects of modern sculpture is the way in which it manifests its makers’ growing awareness that sculpture is a medium peculiarly located at the juncture between stillness and motion, time arrested and time passing. 
From this tension, which defines the very condition of sculpture, comes its enormous expressive power.”

Claire Bishop, Installation Art and Experience
“Installation Art provides both a history and a full critical examination of this challenging area of contemporary art, from 1960 to the present day. Using case studies of significant artists and individual works, Claire Bishop argues that, as installation art requires its audience to physically enter the artwork in order to experience it, installation pieces can be categorized by the type of experience they provide for the viewing subject. As well as exploring the methodologies of the artists examined, Bishop also explains the critical theory that informed their work. While revising and, in some cases, re-assessing many well-known names, this fully illustrated book will introduce the reader to a wide spectrum of younger artists, some yet to receive critical attention.”

ROBERTA SMITH ART REVIEW The Audience as Art Movement
Ann Hamilton at the Park Avenue Armory 
http://www.nytimes.com/2012/12/07/arts/design/ann-hamilton-at-the-park-avenue-armory.html?_r=0

In-Material Reference- choose one:

Sound:
Janet Cardiff and R. Miller http://www.cardiffmiller.com/
Rolf Julius- http://www.momak.go.jp/English/exhibitionArchive/2007/353.html
Christian Marclay- http://www.whitecube.com/artists/marclay/

Light/Space:
Dan Flavin- http://www.nga.gov/exhibitions/2004/flavin/introduction/introduction.shtm
James Turrell http://www.pbs.org/art21/artists/turrell/index.html
Robert Irwin- http://www.whitecube.com/exhibitions/robert_irwin_my/light_and_space/
Olafur Eliasson http://www.olafureliasson.net/

Projection:
Jenny Holzer http://www.pbs.org/art21
Alfredo Jaar http://www.pbs.org/art21
Krzysztof Wodiczko http://www.pbs.org/art21
Bill Viola http://www.billviola.com/
Gary Hill http://www.vimeo.com/user2002575

Architects/Artists
Simparch http://www.simparch.org/
Young Architects Program: http://www.moma.org/visit/calendar/exhibitions/945

Cloth/String/Space
Ann Hamilton- The Event of a Thread
 http://www.annhamiltonstudio.com/
Los Carpintero http://www.bombsite.com/issues/78/articles/2441
Tomas Saraceno
http://www.core.form-ula.com/2009/03/22/profile-tomas-saraceno/
http://www.air-port-city.org/
Lydia Papie
http://www.lygiapape.org.br/eng/obra00.html

Installation and Performance Spaces
Venice Biennale
http://universes-in-universe.org/eng/bien/venice_biennale/2009/tour/making_worlds
Gas Works: http://www.gasworks.org.uk/
INVA http://www.iniva.org
The Mattress Factory http://www.mattress.org/

Bibliography

Barthes, Roland. “Fashion, a Strategy of Desire: Roundtable discussion with Roland Barthes, Jean Duvignaud and Herni Lefebvre” in The Language of Fashion. (New York: BERG, 2005), 86-90.

Cameron, Dan, Kate Eilertsen, Kenneth Foster, Pam McClusky, Nick Cave. Nick Cave: Meet Me at the Center of the Earth. San Francisco: Yerba Buena Center for the Arts, 2010.

De Leeuw-de Monti, Matteo, Sonia Delaunay, Petra Timmer, Susan Brown, Matilda McQuaid. “Introduction” in Color Moves: Art & Fashion by Sonia Delaunay. (New York: Cooper-Hewitt, National Design Museum, Smithsonian Institution, 2011), 10-21.

De Leeuw-de Monti, Matteo, Sonia Delaunay, Petra Timmer, Susan Brown, Matilda McQuaid. “Sonia Delaunay: Fashion and Fabric Designer” in Color Moves: Art & Fashion by Sonia Delaunay. (New York: Cooper-Hewitt, National Design Museum, Smithsonian Institution, 2011), 10-21.

Duchamp, Marcel. “The Richard Mutt Case” in Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. (Los Angeles: University of California Press, 1996), 817-820.

Flynn, Tom. “Welcome to the Machine” in The Body in Three Dimensions. (New York: Harry N. Abrams, Inc., 1998), 142-161.

Koda, Harold. Extreme Beauty: The Body Transformed. New York: The Metropolitan Museum of Art, 2001.

Krauss, Rosalind. “Mechanical Ballets: light, motion, theatre” in Passages in Modern Sculpture. (Cambridge, MA: MIT Press, 1981), 201-239.

Krauss, Rosalind. “Sculpture in the Expanded Field.” October 8 (1979): 30-44.

Selant, Germano. “To Cut is to Think” in Art/Fashion. (New York: Guggenheim Museum, 1997), 20-28.

Sollins, Susan, Marybeth Sollins, Wesley Miller. “Cindy Sherman” in Art 21: Art in the Twenty-First Century. (Dalton, MA: The Studley Press, 2009), 190-203.

 

Evaluation:
All students are required to follow the following guidelines for full course credit.

• Attend all scheduled class meetings.
• Work efficiently and attentively in class.
• Contribute to critiques & discussions.
• Do the readings review the artist and take notes.
• Make models and drawings for each project.
• Complete all assignments.
• Follow safety regulations and clean up work area before leaving.

I keep a record of each students work, their progress, strengths and weaknesses. I will dialogue with each of you in class daily while working.  We will have individual meeting/conferences to plan each project. This occurs 4 times during the semester by appointment. We will have group critiques after each project is complete. I will make a point of giving you feed back on the final work during the group crit. I keep a record our critiques for each assignment and I photograph the finished work for my records.
Please note that, my response to your work will mainly come in verbal form. If at any time while making the project or when the project is complete you want or need an individual conference, I am available out side of class, Monday from 9-12, Tuesday/Thursday 1-4.

I use the following criteria in evaluating student work:

Attendance 50%
The strength of a group studio art course comes from the interaction of ideas and observation of others. In missing the class, a student undermines the effectiveness of the course and the educational experience of all.

Each student must arrive prepared to work with appropriate materials for the assignment, project, exercise, critique, discussion, or demonstration for that particular class day. Unprepared students may receive an absence for the day.

Attendance and active participation in critiques is critical to learning in the studio classroom. All students are expected to contribute verbally by commenting or questioning aspects of the work being critiqued. Attendance at critiques is mandatory. Any student who knows they will be absent from a critique must contact the instructor prior to the critique.
A self-critique and or a pier review will be done for each project. This includes information on the technical skills you learned, the conceptual idea you worked with, and the artists and readings we covered.

1. You must be in the studio by 1:15. We will begin the class with a discussion and or presentation. It is vital that you are here for the beginning of the class.
   If you are more than 30 min. late for a class with out a reasonably excuse you will be marked absent.
2. Participation in the classes including contribution to dialogue, taking notes on technical skills or artist presented.
3. Coming prepared to work on projects in class. 

 Assignments 40%
Students should expect to spend 6 hours per week in class and approximately 4 hours out side of class working on assignments. The studio classroom is open for student use Tuesday, Thursday and Friday afternoons.
All assignments will have a short reading and a list of artist to be read/reviewed prior to the introductory lecture. The readings will guide the conceptual framework and content of your work.
For each assignment a series of technical skills will be gone over in class.

We will have individual conferences discussing preliminary sketches and models for the assigned projects.

1. Turn in projects on time. Your grade will be lowered 10% for each week the project is late.
2. Generation of basic ideas and exploration of solutions. This includes drawings, models and exploration of materials.
3. Visual organization of your forms. Your ability to follow a system of design.
4. Conceptual thought process put into visual forms. Your ability to convey the ideas covered in the assignment, the readings and artist referenced.

Safety and Etiquette 10%
Your safety is of primary importance to us. We will train you to use all equipment and the shop properly.  You must attend safety training for all hand tools, electric tools and the shop equipment at the beginning of the semester.  If you do not attend the training session, you will not be allowed to use the tools. Laura will check and evaluate your ability to use tools properly.
This is a communal studio. You many not leave any materials out on tables or on the floor after classes. If you are working on a large-scale project, make sure Laura and I am notified and help you to find the proper placement and storage of the work.
Chronic failure to clean up your work area and properly store materials will result in a 10% drop in your grade.
Failure to follow our safety regulations will result in a 10% drop in your grade and or dismissal.
Unsafe practices with equipment, removal of equipment from the studio, allowing others not in the course to use the equipment, or using the equipment under the influence of alcohol or drugs will result in your dismissal from the course.

1. Keep the studio and shop clean and clear of obstruction. 
2. Sweep up and through away excess materials from your area when finished working.
3. Put away tools.
4. Store your work properly.
5. Do not dispose of flammables, wax, paint or plaster in the sink!

EXPECTATIONS:
You Spend 3-6 hours outside of class time working, drawing or reading for the class.
You do your work in the studio, not at home
You do your work for yourself AND BY YOURSELF.

SAFETY and SHOP TRAINING:
 All students must have training in the wood shop and the welding facility.
You must sign a form stating that you have been trained in all of the tools covered and know all of the hazards in the studio.

Training for student taking Sculpture II without taking Sculpture I is MANITORY!
You will need to train in the woodshop the first week of classes.
You must sign off on woodshop training before you can proceed with the class.

All Sculpture II students must learn to weld, cut steel with a chop saw, use a plasma cutter and safely grind and polish steel. You must sign off on welding training before proceed with the class.

OUR STUDIO RELATIONSHIP:
I am a resource and a reference for you I have provided you with:

1. A set of studio and intellectual problems to work through.
2. A studio and facility to make work in.
3. Supplies, resources, and tools.

We are all ultimately collaborators.
I will aid you in fabricating what ever it is you wish.

STUDIO TIME:
The studio shop and welding facility is open from10-6 everyday.
Laura Dalton can assist you all day Tuesday, Thursday and Friday after 1pm.
The studio is open to you 24 hours a day. You will get card access.
The cabinet in the studio will hold hand tools and other equipment.

CLOTHING FOR CLASS:
Long Pants-cotton!
Thick long sleeve shirts!
Jackets!
Closed toe shoes!
SOXS!

MATERIALS:
Put your name on a locker and please share it with a classmate.
Get a lock for your locker!

1. Sketchbook                                                                               
2. Work gloves (particularly if you want to weld!)
3. Graph Paper and trace paper
4.  Pencils

We provide most if not all materials.
If need to purchase other materials during the semester: 
Fabric: Mill End, Fabric Depot, For wood: Brown Lumber,
For Steel: The Steelyard. Plastics: Tap Plastics Various: Scrap, The Rebuilding CenterHippo ,Hardware.
You will find the phone numbers on the cabinet next to the phone.